Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Belgium and from Shanghai.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1963 to 1974.
I'm losing my edge.
To all the kids in Stockholm and Hong Kong.
I'm losing my edge to the art-school Lyon kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the guitar sounds with much patience.
I was there when Holger Czukay started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Glambeats Corp. to the dance kids.
I played it at the Troubador.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by The Techniques. All the underground hits.
All Skaos tracks. I heard you have a vinyl of every Mr. Review record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a güiro and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Heavy D & The Boyz record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Coltrane,
The Happenings,
Marc Romboy vs. Booka Shade,
Connie Case,
Echospace,
Amazonics,
Peter Gordon & Love of Life Orchestra,
PIL,
Nico,
Wolf Eyes,
Rod Modell,
Flipper,
Rotary Connection,
Grauzone,
Sad Lovers and Giants,
The Flesh Eaters,
the Human League,
Soulsonic Force,
The West Coast Pop Art Experimental Band,
The Pretty Things,
One Last Wish,
Johnny Clarke,
Duran Duran,
U.S. Maple,
The Velvet Underground,
Man Eating Sloth,
The Raincoats,
Juan Atkins,
Neu!,
Malaria!,
China Crisis,
Brass Construction,
Wally Richardson,
Khruangbin,
Crime,
Manfred Mann's Earth Band,
Oneida,
Bobby Hutcherson,
Red Lorry Yellow Lorry,
Sight & Sound,
Severed Heads,
Pole,
Freddie Wadling,
Roy Ayers,
Arthur Verocai,
48th St. Collective,
Avey Tare,
Easy Going,
Arcadia,
The Monochrome Set,
The Martian,
Inner City,
Symarip,
The Motions,
Qualms,
The Young Rascals,
Mars,
Barclay James Harvest,
Vladislav Delay,
The Human League,
The Royal Family And The Poor,
Bad Manners, Bad Manners, Bad Manners, Bad Manners.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.